Japanese - Ten linguistic Facts

8/17/2019 Japanese - Ten linguistic Facts

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Philoglosse!

by M. N. G. Einstein∗

Sonntag, 3. Januar 2016

Sunday, 3. January 2016

星星星期期期日日日, 第第第三三三一一一月月月2016

For the languages of this World.

and

for all who fell victim to earthquakes and tsunamis.

∗Any usage of the document is only allowed with my full name and my written agreement.All rights reserved. The pdf is free to /for share!

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Part Three

Japanisch − Japanese − Japonais − −

日日日本本本 [Rì Běn] −日日日本本本ののの[Nippon No]

Number Ten − 10 −十十十号号号 [Shí Hào] −

数数数10 [Sū Tō] :

While the Chinese font (which is referred to as Kanji in the Japanese langua-ge, meaning as much as sign of Han) is formed by so called logograms, charactersthat reflect the meaning of the individual language expressions through graphicalsigns, the Japanese writing includes additionally to these Kanji two other wri-ting systems, the Hiragana and Katakana, which are called Mora writings. Heresyllables are distinguished by length; to illustrate the difference, the Moras areregarded as a time unit (in metrics), that associate, depending on their length,

onto the syllables a weight. It is also referred to, as the division of the syllables intime units (Moras).

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Number Nine − 9 −九九九号号号 [Jiŭ Hào] −数数数9 [SūKokonotsu] :

The Chinese characters are the starting point of the entire Japanese writing sys-tem. Because initially Japanese scholars began to reduce those logograms to theirphonetic value. Then a process began in which the characters, that were alrea-dy transmitted into Japanese, were used according to their sound as phoneticism(ideographically as well as phonetically). This type of writing is called Man’yōganain consideration of that anthology. Unfortunately, this sparked countless problems,starting with the fact that similar sounding phonetics were not used after a particu-lar system, but because of aesthetic effects, according to their appearance, leadingto, as soon as Man’yōgana and the Chinese characters merged together, that, sin-

ce both fonts are indifferent in their external form, the problem that readers gotinterpretation difficulties (which were related to the content or to the phonetics).On top came the many syllables in Japanese words, that then needed an enormousamount of Kanji.

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Number Eight − 8 −八八八号号号 [Bā Hào] −数数数8 [SūYattsu] :

Thus, it came to the development of the Mora font of Kana, built on a syllable−alphabet,in which the individual strongly simplistic characters reflect sounds and combinati-ons of those with the consequence, that they do not have an independent meaningof their own anymore. These Kana are today divided into the Hiragana and Kata-kana, due to small differences in their caption, as well as in their employment andcreation. Both can be clearly distinguished from each other, even as a Japaneseilliterate, as you can see at this short example:

Hiragana:

Subete: all −すすすべべべててて

or:

Uranai−ibaba: Uranai−Baba −占占占いいいババババババKatakana:

Akushon: action − アアアクククシシショョョンンン

or:

Dende: Dende − デデデンンンデデデ

Kanji:

Yubiwa Monogatari: The Lord of the Rings −指指指輪輪輪物物物語語語

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Number Seven − 7 −七七七号号号 [Qī Hào] −数数数7 [SūNanatsu] :

In contrary to the Chinese writing, whose transcriptions, the transfer of the lingui-stic expressions in Latin phonetics, is implemented in a standard, there is no suchthing for the Japanese font, for which there exists actually three different systems.Mostly applicated (even worldwide) is the so called Hepburn system (which ori-ginates back to the American medical doctor and missionary James Hepburn inthe year 1867). The most striking feature of it is, that (almost) entirely it mana-ges to get along without any tones (while there are four tones in Chinese, whichoverwhelmingly occur in the majority of all words). (In its original form thereare only found just two (letters) exceptions). The Japanese government uses the

Kunrei system from 1937 which was developed by themselves. Therefore, Japanesechildren learn first this transcription − before they are taught the Hepburn system(this is needed due to English as a second language).

Number Six − 6 −六六六号号号 [Liù Hào] −数数数6 [SūMuttsu] :

The Ainu, who live on the island of Hokkaidō and are not Japanese, but havelived there long before the actual immigrants, speak the language Ainu. This is

so surprising, because this is an isolated language. All attempts of the linguiststo combine it genetically with any known language has failed spectacularly. Thisphenomenon we know all too well from Europe, where the Basque and Etruscan,are facing such an isolation as well.

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Number Five − 5 −五五五号号号 [Wǔ Hào] −数数数5 [SūItsutsu] :

The development of the Japanese language is a mystery in itself. Today it is coun-ted as part of the Japanese−Ryūkyū−family, thus it forms a completely separatelanguage family. In this, Japanese is an independent branch with more than 125million speakers, while the other branch includes the Ryūkyū, Okinawa−Amamiand Sakishima, which account together for two million speakers (whereat it isassumed, that the official government figures have been sugarcoated). Here, thedescription of an island language applies actually twice, since on the one handthese languages are spoken on the Ryukyu Islands, while on the other hand, noone knows where the Japanese (and with it the Ryūkyū, which separated itself

500 A.D. from the japanese branch,) comes from. The only thing that seems sure,is the fact, that there is a connection to Korean. It seems likely, that the originallanguage was introduced.

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Half −time for a story.

The greatest hero of the universe Son Goku from the anime Dragon Ball − ドドド

ラララゴゴゴンンンボボボ–ルルル [Doragon Bōru] −七七七龍龍龍珠珠珠 [Q̄i Lóng Zhū], emanates fromone of the four classic novels of China, called: the Journey to the West −西西西遊遊遊記記記 − Xī|Yóu|Jì. In it, there is a Monkey King悟悟悟空空空 − Sūn Wùkōng who doesall sorts of mischief. This figure is also very popular in Japan, where his name ispronounced Son Gokū.

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Number Four − 4 −四四四号号号 [Sì Hào] −数数数4 [SūYottsu] :

Due to the geographical conditions, since Japan actually consists of four mainislands and an archipelago of several thousand (6852) islands, many regional dia-lects in Japan have formed, yet they all can be summarised into three groups: WestJapanese, East Japanese and Kyūshū. All have several dialects, from which theywere descended, while those groups in turn consist of dozens of island dialects.This is usually referred to as dialect cluster.

Number Three − 3 −三三三号号号 [Sān Hào] −数数数3 [SūMittsu] :

A fascinating oddity is the honorific speech. It exist in both, China and Korea,and of course in Japan, in all cases with serious differences. The Mandarin empha-sises explicitly friendliness and modesty (in that probably lies the biggest culturalshock for Chinese people in Germany with its whole arrogance and egocentrism),which is indeed fundamental in Confucianism. In the Korean language, above all,the value is set on the reflection of the Codex and its compliance, whereat thishappens very precise with aid of the articulation, which orientates itself on theCodex (this means, that the Codex specifies how to behave and with the language

one reflects exactly these manners). The honorific speech in Japan [called敬敬敬語語語 −Keigo] however, behaves like a stacked tower. There are several levels of politeness,each with their own rules of salutation on personal pronouns, up to suffixes, thatcan be stacked higher and higher.

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Number Two − 2 −二二二号号号 [Èr Hào] −数数数2 [SūFutatsu] :

Due to the moras (the emphasis on the syllables) the Japanese language is highlysymmetrical and phonetical incredibly melodic (people do not have an idea of thatextend). Words are not always assembled homogeneous together, but the arran-gement of words inevitably leads to an outer harmony, precisely because of thesyllables. It is only marginally noticeable whilst writing as one sees clearly withthis:

私私私をををWatashi Wo

背背背中中中かかかららら抱抱抱きききしししめめめてててSenaka Kara Dakishimete

囁囁囁貴貴貴方方方ののの国国国ののの言言言葉葉葉はははSasayaku Anata No Kuni No Kotoba Wa

すすすこここしししだだだけけけSukoshi Dake

切切切ななないいいロロロマママンンンテテティィィクククSetsunai Romanti−kü

貴貴貴方方方のののとととりりりこここAnata No Toriko

Io sono prigioniera ∗

今今今夜夜夜貴貴貴方方方はははKon’ya Anata Wa

∗This is actually Italian. It means: ’I am your prisoner.’

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私私私ををを優優優包包包くくくれれれたたたWatashi Wo Yasashiku Tsutsunde Kureta

けけけれれれどどど朝朝朝ののの陽陽陽にににKeredo Asa No Hi Ni

照照照らららしししてててももも黑黑黑いいいTerashite Mo Kuroi

瞳瞳瞳ははは私私私にににHitomi Wa Watashi Ni

そそそのののままままままきききらららめめめくくくのののSono Mama Kirameku No

It does not look very symmetrically, nor melodic. But speaking it, it sounds verydifferent:

https://www.youtube.com/watch?v=p2vxlZkfW-Y

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https://www.youtube.com/watch?v=p2vxlZkfW-Yhttps://www.youtube.com/watch?v=p2vxlZkfW-Y


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Number One − 1 −一一一号号号 [Yī Hào] −数数数1 [SūHitotsu] :

The impact that the Japanese culture and thus the language has on our socie-ty is completely unknown and or totally ignored. Granted, in the adult sector itleads a niche existence, but most children usually grow up very naturally with it.The simple reason for it is, that all Original Anime − Anime Orijinaru − アアアニニニメメメオオオリリリジジジナナナルルル, are coming from Japan. And not only that, the whole gamedevelopment equipment and software also is produced in the country of the risingsun.

At the end ボボボンンンボボボンンン [Bonbon] − a bonbon, a treasure of unimaginable size.

My absolute favorite song from Japan is composed by Nobuo Uematsu and is ori-ginally sung by Risa Ohki. A video of it can be watched here:

https://www.youtube.com/watch?v=WHo6QTW-97E

(if someone wants to practice Karaoke). The text is as follows:

Terra’s Theme, Terras Melodie

テテティィィナナナのののテテテ–マママTina No Tēma

遥遥遥かかか遠遠遠くくく夜夜夜ををを越越越えええてててHaruka Tooku Yoru O Koete

砂砂砂漠漠漠ののの海海海ををを彷彷彷徨徨徨うううSabaku No Umi O Samayou

神神神ののの声声声ははは蜃蜃蜃いいいききき楼楼楼Kami No Koe Wa Shinkirou

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https://www.youtube.com/watch?v=WHo6QTW-97Ehttps://www.youtube.com/watch?v=WHo6QTW-97E


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忘忘忘れれれららられれれたたた人人人々々々Wasurerareta Hitobito

∗

影影影ははは白白白くくくらららめめめきききたたたつつつKage Wa Shiroku Yurameki Tatsu

今今今ひひひとととたたたびびびののの幻幻幻Ima Hitotabi No Maboroshi

蒼蒼蒼くくく燃燃燃えええるるる勇勇勇者者者ののの夢夢夢Aoku Moeru Yuusha No Yume

永永永遠遠遠ににに眠眠眠るるる人人人々々々Towa Ni Nemuru Hitobito

遥遥遥かかか遠遠遠くくく夜夜夜ををを越越越えええてててHaruka Tooku Yoru O Koete . . .

∗The starting violins at this point are incredibly fantastic.

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Japanese - Ten linguistic Facts